초록 close

The Complete Sheet and Mode of Ch ng p in Taeak hubo In this paper, we have decided upon the original text of Chŏng -ŭp 井邑 in Taeak hubo ꡔ大樂後譜ꡕ, and have discussed the mode of Chŏngŭp 井邑 to be divided into two classes such as p'yŏngjo 平調 and kyemŏnjo 界面調. Conclusions from this discussion are as follows. (1) The gross length of Chŏngŭp in Taeak hubo is composed of 88 haeng 行 (record line) lined by 16 chŏnggan 井間 within 1 haeng. In this line, the 65-88th haeng as a hwanyip 還入 is a repetition that is derived from the 9-32th haeng. And the 21-22th haeng that Kim Yŏng-un 金英云(1998) was entrusted with a part of soyŏp 小葉 is consistent with the first half of 29-32th haeng as a taeyŏŭm 大餘音. Therefore, there is no doubt that the 21-22th haeng is a panyŏŭm 半餘音. (2) In the annotation for Tongdong 動動(1), the annotator said ‘yŏŭm 餘音 (of Tongdong's) is exactly the same as the Chŏngŭp yŏŭm 井邑 餘音.' Therefore, Chŏngŭp(1) put to use 4 hang within 1 changdan 長短(rhythmic cycles) in taeyŏŭm, that recorded in the music paper of Tongdong(1). If 4 hang within 1 changdan recorded in the music paper of Tongdong(1) is not exactly the same as the Chŏngŭp yŏŭm, We can not find out the music paper of Chŏngŭp written by kyemŏnjo (la-mode) anymore, that defined clearly by the annotation for Chŏngŭp(2). The annotator said ‘Mugo chŏngjae 舞鼓呈才 put to use (Chŏngŭp 井邑 written by) kyemŏnjo.'


The Complete Sheet and Mode of Ch ng p in Taeak hubo In this paper, we have decided upon the original text of Chŏng -ŭp 井邑 in Taeak hubo ꡔ大樂後譜ꡕ, and have discussed the mode of Chŏngŭp 井邑 to be divided into two classes such as p'yŏngjo 平調 and kyemŏnjo 界面調. Conclusions from this discussion are as follows. (1) The gross length of Chŏngŭp in Taeak hubo is composed of 88 haeng 行 (record line) lined by 16 chŏnggan 井間 within 1 haeng. In this line, the 65-88th haeng as a hwanyip 還入 is a repetition that is derived from the 9-32th haeng. And the 21-22th haeng that Kim Yŏng-un 金英云(1998) was entrusted with a part of soyŏp 小葉 is consistent with the first half of 29-32th haeng as a taeyŏŭm 大餘音. Therefore, there is no doubt that the 21-22th haeng is a panyŏŭm 半餘音. (2) In the annotation for Tongdong 動動(1), the annotator said ‘yŏŭm 餘音 (of Tongdong's) is exactly the same as the Chŏngŭp yŏŭm 井邑 餘音.' Therefore, Chŏngŭp(1) put to use 4 hang within 1 changdan 長短(rhythmic cycles) in taeyŏŭm, that recorded in the music paper of Tongdong(1). If 4 hang within 1 changdan recorded in the music paper of Tongdong(1) is not exactly the same as the Chŏngŭp yŏŭm, We can not find out the music paper of Chŏngŭp written by kyemŏnjo (la-mode) anymore, that defined clearly by the annotation for Chŏngŭp(2). The annotator said ‘Mugo chŏngjae 舞鼓呈才 put to use (Chŏngŭp 井邑 written by) kyemŏnjo.'